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I’m over on Cotsen’s curatorial blog today, sharing a collections education program we did with 9-12 year-olds. The program was titled “Weird Books,” and our goal was to show kids the unusual formats books can take (including this miniature book housed in a walnut shell). Intrigued?

Can’t get enough special collections stuff? You might be interested in this post on a pricey little doodle, this post in which I get to pet Charles Dickens’ writing desk, this post on what appears to be an ancient code (but is not), and this post about the very first Jemima Puddleduck stuffed toy.

This a not just a raven. It’s THE raven. The raven believed to have inspired Edgar Allan Poe to write his famous poem. If that isn’t enough of a distinction, this same raven (his name is Grip) was once the the beloved pet of Charles Dickens. After Grip died, Dickens had him stuffed and it’s reported that he arranged the foliage in the display box himself. Grip was a minor character in Dickens’ book, Barnaby Ridge. Poe, who was working as a reviewer in Philadelphia, read the book and remarked that the raven’s “…croakings might have been prophetically heard in the course of the drama.” Four years later, he published “The Raven.”

Grip the raven is just one of the treasures in the Rare Book Department at the Free Library of Philadelphia. I spent a happy afternoon there, learning about the history of the book and enjoying a massive cheese steak, both provided compliments of Joe Shemtov, Rare Books Librarian. Ready for a little history lesson?

First, Joe brought out this Sumerian clay tablet and envelope (ca 2000 B.C.E). That’s the envelope on the left, and the tablet on the right. The envelope is, of course, clay, and was cracked open in order to gain access to the tablet. Interestingly, the tablet is a contract for a delivery of lard with a penalty clause. All business, those Sumerians.

Next, we move to a papyrus manuscript from Ancient Egypt (ca. 700 B.C.E.). The image above is a section from a Book of the Dead, which the wealthier Egyptians were privy to. Interesting fact – while the scribes were producing these, they would leave blank spaces for the names of the book’s future owners. The manuscript is written in Hieratic, a cursive writing system that allowed scribes to write more quickly than with hieroglyphs.

This Meghillat Esther scroll is a beautiful reminder of how the reading experience has changed over time. We flip pages to read, but before that, we scrolled. I suppose with computers, we’re back to scrolling. Huh.

Moving forward, we start to see manuscripts and books written on vellum (i.e. the skin of sheep, calves, and goats). Vellum was sturdy, but rather tedious and time consuming to produce. The size of the animals limited the size of the vellum, which inadvertently resulted in more standardized sizes of books.

This is a Book of Hours (ca. 1475), a religious book that was the “bestseller” of the Middle Ages and the Renaissance. From the mid-13th century to the mid-16th century, more of these books were bought, sold, bequethed, inherited, printed, and reprinted more than any other book, including the bible. A Book of Hours was a book of prayers, but also contained a calendar of feast days (which commemorated the days on which particular saints were believed to have been martyred, as well as the important days of Christ and the Virgin).

At this point in history, books were still written entirely by hand. Until this came along. Above is a page from a Gutenberg Bible, the first book printed on a printing press. Johann Gutenberg invented his press in the 1450s and thus ushered in a new age of literacy. Gutenberg also popularized the use of plant-based paper rather than vellum. While opinions and records vary, it’s generally believed that approximately 180 copies of the Gutenberg Bible were printed, and only 21 complete copies exist today.

Sprinting forward to the 19th century, books were looking very much like the ones we know and love today. And because of the plethora of printing presses, books were selling cheap. An 1840 chapbook like the one above would have cost mere pennies. This made the books more affordable to the lower classes, which that meant more people could afford to start learning to read and write.

Of course, there were still some fancy books out there. Are you ready to see something really, really, cool?

This is a book with a fore-edge illustration. While it’s a little hard to see in the image above, the edges of the pages are gilded (i.e. burnished with gold). But, when you fan the pages just so…

…the pages reveal an illustration! How completely and totally amazing is that?!? Man, I love rare books! Even better, this book has a double fore-edge. If you flip it over and hold the pages just so…

There’s a different illustration on the other side. Unbelievable. While the Rare Book Department has been giving history of the book tours for some time now, they were recently awarded a Hatching Innovation Grant to create a traveling educational program to local schools and library branches. Congrats Joe!

The Rare Book Department at the Philadelphia Free Library is open to the public and free of charge (they’re on Facebook as well). The library is open Monday-Saturday with daily tours starting at 11:00am. You are also free to visit their exhibit galleries, which are absolutely lovely.

Their new exhibit space, the William B. Dietrich Gallery, is currently showing Sacred Stories: The World’s Religious Traditions. The exhibit draws from “one thousand years of human history, illustrating the ways we have written, printed, decorated, and illuminated our Buddhist, Christian, Hindu, Jewish, and Muslim faiths.”

Well, we began this post with Dickens, it seems only appropriate we end with him. This is the Elkins Room in the Rare Book Department, a gorgeous wood-paneled paradise filled with books, artifacts, sculptures, and artwork.

See the desk to the right? That, my friends, is Charles Dickens’ writing desk. Originally, it resided in Gad’s Hill Place, Dickens’ country home. The great man himself sat right there, wrote amazing things, and even carved his initials in it! And there’s me, hopefully absorbing some of that writing power into my own fingertips.

Many thanks to Joe Shemtov and the Rare Book Department staff for an amazing afternoon! Sacred Stories: The World’s Religious Traditions is showing through January 30th, 2016.

In 2014, College & Research Library News published an article I wrote about teaching children using rare books and special collections materials. I’ve posted it here as well!

The Cotsen Children’s Library at Princeton University is a Rare Books and Special Collections Library devoted to children’s literature. It has an extensive and engaging collection, and part of our mission is education and outreach to children. Rare books and children…can the two mix?

The answer is yes, absolutely. For seven years, I’ve had tremendous success bringing collections education to New Jersey schools. This outreach initiative, which I call Cotsen in the Classroom, consists of six staff-lead programs that are available, free of charge, to K-5 classrooms in public schools, private schools, and home schools. To date, over 14,000 children have participated in the programs.

Each Cotsen in the Classroom program is set at a particular grade level and is based on items from our special collections. Beatrix and Peter, the kindergarten program, features the natural history drawings, family photos, and picture letters of Beatrix Potter (for more Potter fun, take a look at this post). Kamishibai, the first-grade program, includes historic photos, story cards, and performances of kamishibai, a type of street theater popular in Japan from 1930-1950 (you can read more about kamishibai in this post). Mr. Andersen, the second-grade program, follows the life story of Hans Christian Anderson, using a number of his personal paper cuts and century-spanning illustrations for The Ugly Duckling.

Colonial Classroom, the third-grade program, features a day in a Colonial American classroom, complete with horn books, copy books, primers, and writing blanks. Illuminate Me, the fourth-grade program, demonstrates the process of creating illuminated manuscripts and discusses the world-changing invention of the Gutenberg press, and the advent of the printed book (manuscript fans, click here). You Are Here, the fifth-grade program, exhibits 18th-century geographical objects from London, England, and discusses how, over the century, they reflected changes in education and social structure in Europe. To see the full program descriptions, click here.

Since the programs travel out of Cotsen and into local schools, I don’t use actual collections materials. Instead, I teach with enlarged high-resolution photos mounted on foam board, reproductions of historical items, and objects that have been purchased (or specially constructed) for the programs. Students work with (and take home) full-color reproductions of collections items, as well. The visual material is reinforced by a lively lecture, hands-on activities, and a succession of question and answer opportunities designed to keep the students engaged during the 45-minute presentation.

Are the programs successful? Do students gain an appreciation for the collections material? Do they retain the information in the programs? Do they enjoy the programs? The answer to all of these questions is yes.

The entire programming year for Cotsen in the Classroom (which runs for 38 – 40 weeks during the academic year) consistently books within 48 hours of the opening registration date. I’ve observed students exclaiming over a 15-century illuminated manuscript, avidly searching for the publication year on a 1776 copy book, and racing each other to locate New Holland on a paper globe from 1830. Students often recognize me when I return to their schools and eagerly share what they enjoyed the previous year. Teachers repeatedly relay stories of students making further connections to, and initiating personal projects on, topics inspired by the Cotsen in the Classroom programs.

There are also the thank-you cards I receive from classrooms. While some are obviously form letters dictated by the teacher, others recall key pieces of the presentations, make personal connections to the material, or accurately replicate, through their illustrations, the collections material presented in the programs.

It’s definitely possible to bring special collections to school children, including those who visit your library on tours. Whether designing a new program or adjusting a current one, I offer the following recommendations for developing successful programs for your young patrons.

Allow hands-on whenever possible. Rare materials are, by their nature, not things to be handled frequently or casually. Therefore, I use reproductions of collections items. A large poster to pass around the classroom, a reproduction of a period object, even a contemporary version of a historical object can all be used to great effect. For children, being allowed to touch an object creates an instant connection to it, and promotes absorption and retention of the information. It doesn’t have to be elaborate. Whisper sticks, for example, were a form of punishment in Colonial schools. Pupils caught whispering were forced to clamp sticks in their mouths. I use wooden Popsicle sticks, purchased in bulk from a school supply company, to replicate this experience.

Adjust for your audience. The younger the children, the more activities, transitions, and visual changes you will need. The Beatrix Potter kindergarten program, for example, starts as a group sitting theater- style on the floor, then quickly moves back to tables/desks for some natural history sketches, then returns to the floor for the remainder of the program. In between these transitions, there are plenty of visuals. The fifth-grade program, in contrast, takes place almost entirely at the students’ desks, with the visuals presented at the front of the classroom and a collaborative group activity at the end of the program.

Leave time at the end for Q & A. Answering questions is my favorite part of these programs, and a good way to assess if the audience was interested and engaged. I build in at least 5 minutes at the end of each program to answer questions. One fourth-grade class kept me busy answering questions for 30 minutes! I’ve fielded a wide range of questions about these programs – questions about the content, questions about the Cotsen library and rare books, questions about my work and expertise, and questions about how the programs were researched and designed.

Send materials home. Every student who participates in Cotsen in the Classroom takes home a full-color reproduction of a collections item. “We get to keep this? Really? Cool!” is the refrain I often hear as I pass materials out. Sending materials home allows students to connect with what they learned, and share it with their families. One parent (who also happened to be the principal of the school) stopped me in the hall to tell me how excited his five-year-old son had been to show him the Beatrix Potter sketchbook he’d brought home from class that week.

Ask your audience to analyze your program. During the first three years of the Cotsen in the Classroom initiative, I gave every classroom teacher an evaluation form. On this anonymous form, he or she was asked to rate the program on a scale of 1 – 5. I also left space on the form for teacher comments, student comments, and general suggestions. I used the invaluable feedback I received on these forms to improve the presentations, clarify content, and assess whether the program was accomplishing its educational goals.

Teaching the untouchable can absolutely be done through quality reproductions, replicas of historical objects, and a presentation designed to engage, enlighten, and empower young learners. It’s also incredibly rewarding. A kindergartener eagerly asking a question, a fifth-grader gazing thoughtfully at an 18-century map cabinet, a first-grader creating a kamishibai title card, a third-grader who wants to find books on the subject I just presented – after seven years of teaching these programs, I never tire of watching students making connections to the special collections material. I also enjoy their expressions of appreciation for my visit. “That was so cool.” “I never knew that!” “That was the best presentation ever!” “Can you teach us something else?”

But my favorite compliment of all time was one that was not expressed directly to me. As I left the classroom, I overheard a fourth-grade boy whisper to his friend, “I thought that was going to be boring but it totally wasn’t!”

Success!

“Teaching the Untouchable: Rare Books Education in Elementary School Classrooms“ was originally published in College & Research Library News, November 2014 (Vol. 75. No. 10). Full text version, click here. Pdf version, click here.